Not Your Grandma’s “Music Man” – Marriott Theatre Makes a Classic Even Better

Marriott Theatre has proven over and over to have the magical ability to breathe new life into any production. For its production of the well-loved classic “The Music Man”, Marriott Theatre brought in director/choreographer Katie Spelman – direct from creating the dance elements of “The Notebook” that opened to dazzling reviews on Broadway earlier this year. What Spelman has created is an awe-inspiringly fresh and vibrant production of the Meredith Wilson show. No matter how many times you’ve seen “The Music Man” before, you’ve never seen it like this! In a word: spectacular!

There are actors who put such an indelible fingerprint on a theatrical role that it becomes accepted that any subsequent actors must follow their blueprint. Yul Brynner put on such an iconic performance in “The King and I” that for decades it was assumed the role of the King could be played no other way. But then in 1996, Lou Diamond Phillips stunned Broadway audiences with a totally new interpretation of the role of the King. Robert Preston’s interpretation of the role of traveling music salesman Harold Hill made such an impact in the 1957 Broadway production and 1962 film, few dared to venture away from its path. The result was years of companies putting on very predictable productions. The plotline of the show is pretty simple. Professor Harold Hill travels the country selling band instruments, instruction books, and uniforms to all the proud parents of each town he visits on the promise that he will personally tutor the kids into a real band. In truth, he can’t read a note of music and skips town with the money before they are any the wiser. When he arrives in River City, Iowa he runs into resistance to his plan in the form of the town’s librarian and music teacher, Marian. Not to be undone, Harold embarks on a plot to use his charms to woo her into her support. In 2003, ABC made a television movie adaptation featuring Matthew Broderick who was less the seasoned statesman Preston had made the expected norm, and more of a bumbling teddy bear. It was a quaint movie, but did little to make people forget Preston.

For the Marriott Theatre production, Spelman has tapped KJ Hippensteel to do the seemingly impossible – make people forget about Robert Preston. Hippensteel is astonishing as a young and utterly charming Harold Hill. Without disrespecting any of the performers who have preceded him, Hippensteel makes Harold Hill all his own. He is a sexy, smart, and suave leading man with sincere charm rather than that of a snake oil salesman. And he’s a Harold Hill who can dance! In fact, dance is a big selling point of this spectacular production. Spelman uses choreography to move the story forward. Her creative use of dance makes a show that normally lags into one that seems to speed by. And what what choreography it is – exciting and inventive, expertly executed by an amazingly talented ensemble. This is not your Grandma’s “Music Man” – but she would love it even more! In the role of love interest Marian Paroo, Alexandra Silber brings an incredible Broadway and West End resume to the table. It shows. She is a powerful actress with a burning intensity, which she uses well to show Marian’s initial distaste for Hill. This strength makes it all the more powerful when she comes to the climax of her character arch and lets the walls melt to show a blooming flower of a woman giving herself completely to love.

In addition to her skilled character work, the Grammy nominee has a purely opulent voice that will leave you speechless. It is rich, expressive, and straight from heaven. Often with “The Music Man” the supporting characters blend into the background. With the Marriott production, they burst to life in vibrant technicolor. Alex Goodrich is perhaps the funniest and most skilled comedic character actor in the Midwest. He turns the sometimes lackluster character of Mayor Shinn into a source of unbridled hilarity. There is nothing this brilliant actor can’t make funny.

To balance the love story of Harold Hill and Marian the Librarian, Meredith Wilson inserted the teen love story of Mayor Shinn’s daughter Zaneeta Shinn and local bad boy Tommy Djilas as a subplot. However, the writer didn’t spend much time developing the characters which can be a challenge to the performers charged with bringing them alive on stage. In the Marriott production, Emily Ann Brooks and Sam Linda overcome these challenges, making their characters interesting, likable, and memorable. The two young talents are really very impressive. Linda’s dance skills as Tommy Djilas are pretty darn awesome. As happens with truly great productions, there are a few more standouts in the cast. Michael Earvin Martin adds dimension, warmth, and a handsome singing voice to the role of Harold Hills’ friend Marcellus Washburn. Kai Edgar will steal everyone’s heart as Marian’s younger brother Winthrop Paroo, a character who battles a stutter but graduates to show off a stunning singing voice. There are some performers who can standout even without a lot (or any) lines. Lillian Castillo is an absolute hoot as Alma Hix, one of the Ladies Auxiliary that follow the Mayor’s Wife around like ladies in waiting. In addition, Ron E. Rains provides some nice comic moments as disgruntled salesman Charlie Cowell. And among the chorus, Emma Grace Bailey not only amazes with her dancing, but also has an angelic smile that simply radiates.

Not to be outdone, the sometimes blasé school board characters are magnificent in this production after Harold Hill turns them into one of the most beautifully toned barbershop quartets to hit a Chicago theatrical stage. The talented performers include Matt Edmonds, Quinn Rigg, Michael Potsic, and Michael Mahler. Alongside Spelmans’ masterful direction and choreography, the always dependable Ryan T. Nelson does an outstanding job making the 1950s score relatable to modern audiences. Big probs to orchestrator Benjamin Roberts. Costume designer Raquel Adorno makes a huge impact on the production in an unassuming way. Her costumes, especially her attention to color combinations, help make the show without stealing attention from the actors who wear them. Lighting design by Jesse King is equally as impressive. Scenic designer Collette Pollard, sound designer Michael Daly, wig designer Miguel A. Armstrong, properties designer Sally Zack, and dialect coach Sammi Grant all show off prime skills as well.

This is not a “new” production of “The Music Man”. The songs are the same. The script is the same. But the in-depth character interpretations, the creative staging, the stunning choreography, and the beautifully original orchestrations make this a remarkable version of the classic that will make you forget about all prior versions. This is the one production of “The Music Man” that will impress everyone.